Skip to main content

Environmental Portrait Photography

Lesson 34 of 48

Indoor Shoot Results


Environmental Portrait Photography

Lesson 34 of 48

Indoor Shoot Results


Lesson Info

Indoor Shoot Results

As we were shooting through those videos, you saw some of the raw images pop up. I don't do a whole lot of retouching or things like that but I do general color grading, I do get rid of some of the distracting things, some highlight and shadow controls so I'll explain that as we go. I want to start off with one of my favorite shots from the shoot. It ended up being one of the overhead shots. So you can see here the lighting was achieved with that really bright type of feel. That's what I wanted with the pops of color that were going on there. You can see this is the shot where it's a horizontal shot obviously, where I was standing on the step ladder. We have enough window light coming in that it looks fairly natural, that was kind of done with balancing. However, if I were to shoot without the strobes she would basically be in the dark with this current setup. So the magnum reflector is just off to the left, just out of frame. It wasn't cropped at all, that was part of the framing proc...

ess of seeing how far in to put the light, what to move and all of that. Again I mentioned earlier that the sweet spot, kind of the great shot all came together when she started using the torch because it got her head up a little higher. And you can see I'm shooting. She had a little bit of her hairstyle is a little funky in that it kept falling in front of her face, that was not ideal, but again if you work it right and you kind of place with all the things you can and you get her moving in the way that you know the light will be great. I knew as soon as she did this it's like okay, just keep doing that over and over. Whatever keeps your head angle at this position, whatever keeps your arms up so that way she was standing more upright and the light was getting more into her face. That really helped me and then moving my angle to try and get the frame of this image not going down directly into her head but kind of putting her into a nice, she's in the right third of the image, pretty well centered as well as vertically. But keeping, originally when I got there the only two things that were on this table were the panel on the bottom and the panel that she's now working on. And this was all empty so we needed to prop that. What we decided was we had all these cool tones, blue, the blue she's working on, the blue tape, but we had this bit of warmth, so that's why we took this one to kind of play off that warmth, so we had these two pops of warm colors mixed in with all this blue to really frame her in nicely. None of this was in here, we propped all that out. I said what other tools would you be using to work on these pieces of art, and she said well obviously the torches. Different brushes, and we just kind of added those things to give us that depth and get rid of any area that was a little boring. And we didn't want it to be too much and too distracting, and these torches kind of play off well with these and the one she's holding. I'd mentioned either being totally squared to the subject or shooting at almost 90 degrees to a wall. This is where I embraced that perspective of getting the corner, so our left third of the image is just the window light and a little bit of the paints and the hot pots and all that type of stuff. And that's the balance with her on the right third and then again letting her go through the actions. So I probably shot 60 frames of her doing this exact same thing. You'll see later when we go back through the images how there's a whole bunch that are like eh, that's okay, that's okay, and then all of a sudden pop, there's one like this where everything came together from the light, to the action, to the composition. That's why I love using the 24 to 70s because I can zoom in and out, especially when I'm standing on a stepladder, it's kind of a pain if you're using a prime to have to, oh hold on let me move the ladder closer or let me back it up. So using that lens, there are advantages to using primes, but at the same time using the zoom lens for me, I'm not super technical when it comes to some of the depth of field and some of those things. I'd rather have the content and the overall frame say what I want it to say. So that's why I loved the 24 to 70, but everybody has their favorite lenses. So with this said, shooting that overhead graphic composition, it really let the art show because when you're also down flat to it you can't really see that color because of the wax coating. It basically just looked like this hazy gloss over the top of all the artwork. So being able to elevate up and show that downward composition, you can see all the paints in the hot pots in those little foil dishes that she's working with. And everything came together here. As far as backend work we are gonna re-edit this image later. All I really did was add little bit of contrast, I had to tone down the highlights a little bit because this first panel down here on the left was a little bright, it was losing some of the detail. So we'll kind of talk about, sometimes I have to take two different raw processes, so I might process one for the artist and a second one for the actual artwork. That's another cool thing in Capture One, you can work in layers. So I'll show you how you can export one file that has multiple layers done in capture one where we're basically bracketing that exposure for different elements within the photo, but doing that all in Capture One so you only have to export one and you don't have to do that in Photoshop. So this is just kind of our hero shot. It shows the, this tells the story all in one. We know what Alicia does here, we see her artwork, we see her space, it gives us a good vibe, it's rather light and airy but there is still direction to the light. I'm not one that has a lot of angelically lit images in my portfolio, they all have some sort of shadow and shape to the light. So while it is light it looks like the window could be lighting it or overhead lights as well. There's still that element of shadow and depth there. And again, all these graphic elements bring it all together. The second image is basically the original shot I had in my head, which was the lower angle of her working. Again, you'll see I, as you know, she's still holding the blowtorch, it's still the same angle, everything about this was set up exactly how I wanted. You can get her in the right third, the window is still in there, you can see some of the shadows on the wall that are definitely happening from using that magnum reflector, but I don't mind because it kind of matches the shadow on her face. You'll also see as she moved back in forth, as you probably saw with the raws that were happening in the video, this line here, if she moved any further this way was going through her head, so it's waiting till that right moment when she's in this little space and there isn't those distracting elements. So we still have all the torches, we have foreground elements, her artwork leading that blue, it's almost like there's water at the base. And then I love little elements like this where we have the colors and tools on the walls and a lot of her personality elements that she keeps in her studio but again, from a lower frame, this would probably be a shot that the client, from this assignment, this self assigned assignment. This would be the shot that I kind of went in there thinking this would be the one that happened. I love the one previous to this with the overhead view. But this is the actual shot that once I got this one, then I knew we could kind of start playing and move and do something different. So again, it all came together here, this is what all the planning was for and then again letting her work in that space and move back and forth and run that torch until this happened. And without having eye contact, it kind of shows we're just in the moment with her creating her artwork. You can tell she has a look of concentration, steadiness, and I just kind of like how it all came together. Now when we move on to the more experimental stuff, kind of the bonus shots, this was all naturally lit, so you can see a shallower depth of field, the background is definitely a little out of focus. And this was shot with a 24 to but rather than at five-six, we were down at two-eight. This was in the video the moments where I had her holding the panel, she was scraping. I wanted her still to be doing something. And I'd say alright, look up at camera. So it was kind of like the process of her naturally looking up while she's working. So it wasn't so much that she was sitting there posed. She's still doing something, she just happened to be glancing at the camera. And again, the few time I asked her to smile, she wasn't really volunteering this big smile, so I just thought well I'm just gonna quit asking her and she's just giving me the expression she wants. So there's only so far you can push people. I'm not one to command alright, say cheese or any of that type of stuff. I want the expression to be authentic and I want her to be comfortable, so whatever she gives me I'll take it, I might make some suggestions to try and get some place, but if it's not going there I'm not gonna force the issue. I know a lot of people will tell me in a lot of pictures, I feel like a lot of people just don't instantly smile when they're working. It wouldn't be like she'd have this big grin on her face while she's scraping wax away. So it looks a little more natural. I'm sure when she looks at it it will, in her element it's what she's doing and to go back to the technical details, again, I was looking at all the frame. It's like we have these elements here I didn't want, this shelf coming out of the top of her head. I don't mind this, but you can see there's a little bit of space here. I take so many photos, and as I go when I'm looking at the screen tethered, it's like how can I tweak this just ever so slightly that she's framed up perfectly in this space. We have her, decorations up there. You still get a sense of what she does, we have the artwork. As far as the rule of thirds and things like that, her head is up in the upper area of this frame but we left enough space up there for any reason and it's a flattering photo and I love the fact that she has her apron covered in wax and you probably saw in the video you can hear this crunching as we walked around. The floor of that place was completely covered in wax. So that was interesting for the audio guys to deal with. But this is one of those shots again, I didn't plan on taking this shot, it was not on the original list but as I looked around the space, that window was just saying use me for some light. And especially on a cloudy day, so. Here we go, and this will be a shot that she'll probably like one of the most because it's really natural, has that nice depth of field that people like and it worked out pretty well. This is one of the shots, the next one, that didn't quite work out as well but I do want to show it. It's still interesting. I wasn't able, this was kind of done on the fly. There wasn't as much planning going into it. I don't love how this window bar is going right through her head. You probably notice in the video I had her move in. It's because this was leading right up to her face and this was going through her head. I wanted her to be more in front of the windows. You will notice I am perfectly square with these windows. That's what I wanted, I wanted that graphic element to it, whether you have a little bit of detail here, all the brushes in the foreground, so I don't hate the shot by any means. It's also one of the only ones where you can see the flame because it was in front of the black. But I don't love it, but it's okay. It worked out pretty well. This was lit with the magnum. Again, just adding some light on her from the side. I wish that the background, and I could do this later if I wanted to in post. I wish the background, you can see the baseball stadium back there. I wish it was almost all the way blown out, so that would be something where you could go in and edit out, some of that, make the windowlight come through whether it's in the raw processing or Photoshop and then she would really stand out. It's just one of those things. Is it worth all the work? I don't know, we have some other great shots. So where do you want to take it? And then lastly, what we have is the portrait. So this was kind of the shot that I was excited for to do at the end. The other stuff's great, but being able to prop it. So how this kind of transpired was when we went into the studio you saw in the initial video she had one of these pictures up there and I already knew that I wanted to put a blank panel in front behind her head to kind of frame her in. But I also didn't want it to be boring because I want to feature some of her work. So again, propping this out she had this little easel with one of her works. We put the torches in, this was all cardboard and she said well you know that's butcher block underneath there. Well that's obvious, then get rid of the cardboard and let's leave that. Having this purplish artwork up here, I wanted to put this one down here to kind of balance all of that. We didn't want everything perfectly straight because it looks just too contrived, but I do love this straight edge. But then having one there kind of throws it off a little bit. And then all this back here we placed with the torches, the brushes, all that was from the previous shot and we just kind of moved it over to kind of curate this little scene. And you'll see I left plenty of room above and below for this shot to kind of breathe so you have this space, you have the edge of the panels, I love how the shadow came in from the light. My light was that ProPhoto Magnum with the diffusion sock on it, just camera left. Even just cropping it right to this edge so you have a clean space after that torch. And I'm really picky with that type of stuff, that's what's happened over the course of my career of knowing when to slow down, look at the frame, she didn't have to go anywhere. So I don't feel, I used to feel this anxiety to have to be like okay I think we got the shot good enough and then I'd go home and it's like why did I hurry up, she didn't care. And then also this is that nice quiet moment I'm talking about. I gave her some direction as to where to look. I think this is when I told her to look towards the paper towels because what I'm doing is I know where the lights are, I know where her face is, I also had her move her chair. What you didn't see in the video, I had her move her chair about 10 different times to make sure her head was perfectly centered in this frame. So I was like, move an inch to the left. Okay, move a half an inch to the right. And as she sits and settled in she would move, so once we got to a point where I knew that the frame was square on, she was right in the middle of that panel. Then I could kind of figure out where to get this expression, and you see I had her look towards the windows, I had her look into the closet area, I had her look right at camera. But I'm just watching for eye contact because with those thick framed glasses, a lot of times if her head would go down too low, the frame of her glass, she might be able to see me, but I couldn't really see her eyes. And when her head was going more towards the light we were getting a little bit of glare. So this ended up kind of being the winning shot as far as all the technical stuff coming together and still having an authentic feel. She clearly looks like she's zoning out almost in thought. And it also tells the full story in one portrait of the entire space. You know what she does, you can see some of the tools of the trade, you can see some of the finished process, all the elements that make up her studio and it's a good portrait of her. So I did a number of these which we'll go through in the editing, but this was kind of the one shot that I felt really encompassed the entire deal as far as from a technical standpoint from me as what I thought was a flattering shot of her. And something that told the story. If we only had one frame and show people and say here's the story of Alicia, you can tell what she does all from this story, and it's just a shot that I like as an artist. So that's kind of how it all came together. And now we have a little bit of, we'll make a transition here to the moto shed garage which will be totally different but in the meantime, after seeing those videos, seeing a bit of the results, any questions at all from anybody? In the last two videos, it was more quiet than before. Do you ever put music if someone is not comfortable with quiet? Yeah, so that's a great question. That's how I normally work, I'm not normally this talkative, that's why I've gone through two things of water. And I usually just let people do their thing. A lot of times I'll ask them, I do keep one of those little Bluetooth speakers in my bag or in my car and I'll ask them, hey do you want to throw on any music? If there is music playing in the space we'll let that go. For this case because of the video and it being on Creative Live, you have to be a little selective of what can actually air. So that wasn't really an option. But many times we'll definitely have music playing. And I always ask people, do you want to listen to something? 'Cause it can get a little awkward with that silence. So I'll let that be determined by them. I usually don't care what we listen to, and if they do leave it up to me I do have opinions on that, but for the most part it's one of those things I definitely offer but it's totally up to them as far was what we want to listen to. But good question, 'cause it does break up some of that awkward silence. I was just gonna ask with regard to you turning in assignments and whatnot, how often is it that your favorite photo from the assignment matches up with what gets printed? Oh, like never. It's usually my favorite photo is kind of quirky and a little bit odd, and again, for an assignment usually they're not going for that. So a lot of time the photo they pick will be more like that first or second photo where it's more of the planned shot. It's a little more obvious, it's a little more planned out and fits the shot list. Where my favorite photo is something that happened along the way. And again, it might not be the best shot, my favorite one, it might be my favorite because I was also there. There's an emotional connection to that shot. There might be one of those shots where you know the amount of effort that went in to make this shot, and it's because it was the shot that was in your head, you really wanted to make it happen, and you're like yeah. And then everybody else looks and they're like, well that other shot's way better and you don't have that connection to that shot, you have it to the other one. So a lot of times my favorite won't be the favorite of the client or even many other people who view it. But that's okay, that's part of the art, so it worked out. Any other questions? Yes, we do have questions from online. So couple of questions from Pam and Amanda about white balance. And so they're saying you're combining the natural light with he artificial light and how do you handle that, how do you approach it? Okay, so one of the things, that's a great question because you saw we were mixing ambient with strobe. I get to a point where if I were to take the light trigger off on those shots and take that, it would be almost dark. So I'm shooting at 5500 Kelvin because my lights are generally overpowering any of the ambient light. That's why when I first go to a location, I look at, where's the ambient light coming from? I place my lights from that same direction and then overpower the ambient light. So it still looks natural, but I'm not having to deal with the ambient color temperature as much because I know with the ProPhoto it's gonna be and by placing my lights where I need it to look natural, I don't have to deal with combining white balances. Cool, thank you. And then finally, a question from Arnold who says is there any indicator if the environment is too cluttered and makes the photo too busy, you did talk through how you staged some of the settings. But do you walk into places and you're like, ah? Yeah that happens quite often and a lot of times then we might instead of going from this wider scene you might pick a little vignette or a little frame here or there that is less cluttered because I'm a little reluctant to ask people, hey can we completely clean up this space because that's there workspace. If it looks like mine, it might look like a mess but I know where everything is at. So a lot of times with these people it might be the same thing. And if you can't embrace that and if it's really distracting in the photo, a lot of times I'll just have to get rid of that wider shot or find a different location or even a different angle that gets rid of some of that clutter and makes the focus more on the subject. So there's always a way around it if you pull out your camera, really look through the viewfinder and figure it out. And worst case scenario you can ask them hey can we move some stuff? And a lot of people, they want the photo to look good too, so they're usually not too hesitant to helping you out or making the photo look better.

Class Description


  • Confidently create environmental portraits
  • Light any portrait, indoors or outdoors
  • Compose strong environmental portraits
  • Cull and polish high-end images in post
  • Develop a portfolio and marketing tactics


Create dramatic images anywhere by mastering on-location scouting, planning, lighting, and composition. Join professional photographer Dan Brouillette in a start-to-finish course on the art of environmental portraits. From planning and scouting to post-processing and portfolio building, gain the skills to shoot high-end portraits, anywhere. While designed for environmental portrait work, this class is also for any photographer that wants to create better light, on location.

In this light-intensive course, learn how to craft environmental portraits using photographic lighting techniques working with both natural light and studio lighting equipment. Work with multi-light strobe set-ups and natural window light to turn difficult lighting conditions into beautiful light. Then, learn how to mix natural light and studio lights for dramatic effects that complement the scene. By incorporating light in new and inventive ways, Dan will help you push the boundaries of your portraits and improve your workflow.

Finally, work with culling and post-processing. Learn how to polish images using a combination of Capture One, Photoshop, and Alien Skin software. Then, gain insight into building a portfolio and marketing your work to work in editorial and commercial areas for environmental portraiture.


  • Budding portrait photographers
  • On-location portrait photographers
  • Photographers eager to learn on-location lighting
  • Photographers branching into commercial and editorial work


Capture One 11, Adobe Photoshop CC 2018, Alien Skin 2018


Dan Brouillette's high-end editorial style has lead to work with celebrities from Anne Hathaway to Scarlett Johansson. A commercial, editorial and senior photographer based in Nebraska, he's known for giving everyday people the Hollywood look. His previous work as a lighting technician helped him build his signature style using dramatic lighting techniques typically used for commercial work. With an insightful and easy listening teaching style, he helps photographers learn to craft with light.


  1. Class Introduction

    Jump into environmental portraits with an overview of the class. Prep for the class with an overview in this lesson.

  2. Introduction to The Environmental Portrait

    What is an environmental portrait? Environmental portraits tell a story using a single image. Gain insight into the genre in this lesson.

  3. Environmental Portrait Purpose

    Why shoot environmental portraits? Environmental portraits encompass history, story, and personality -- and they are more interesting than plain backgrounds.

  4. Personal Work

    Personal work conveys your unique passion for photography. In this lesson, Dan discusses using personal work -- even for photographers with paying clients -- to avoid burnout and stay true to your passion.

  5. Find Your Process

    Every photographer's workflow may feel a little different. Start finding your own process by brainstorming, planning out personal shoots, scouting locations and more.

  6. Tethering

    Tethering allows your camera to instantly talk to your computer for review during the shoot. In this lesson, learn how tethering can boost your workflow and can help you easily pre-process your images during the shoot.

  7. Purpose For Action Editorial

    Ahead of the live shoot, walk through the purpose of the action editorial shoot in the photo studio. Learn why studio-like shoots are often a requirement.

  8. Prepare for Shoot

    Preparation is key to successful environmental portraits. Master what's essential to the planning process and learn how Dan prepared for the upcoming live shoot.

  9. Action Editorial Process

    Dive into the workflow for an action editorial shoot. Walk through Dan's process for this type of image, from working with the client to delivering the photos and invoicing. Read through an actual editorial assignment from a real magazine and learn how those details spark the planning process, including preparing the dramatic effects from studio lighting.

  10. Set Up Action Editorial Shoot

    Set up for the live shoot, beginning with the tethering software. Go behind the scenes as Dan sets up lights and explains the gear and his vision for the shoot. Work with studio lighting placement, including angles and the height of the light stand. Control strobe lighting with different angles and modifiers.

  11. Shoot: Action Editorial With Athlete

    Begin the live shoot with a test shot to adjust the studio lighting and camera settings. Here, Dan shares his camera settings, like the 1/200 shutter speed and a white balance of around 5500K, then works with the "first layer" of lighting with the key light. Add fill light using a strobe modified with a silver umbrella and an accent rim light. Then, move into action shots.

  12. Studio Portrait Shoot Overview

    Take a brief break from the live shoot and learn why studio shoots are often included to supplement the environmental portraits. Gain an overview of the process before heading back into live shooting.

  13. Shoot: Athletic Studio Portrait

    Set-up the studio portrait using strobe lighting and V-flats with a bright white background. Learn how to manipulate the light to brighten the background without spilling over to the subject using side lighting and "cheats" with V-flats.

  14. Shoot: Manipulate Light to Mimic The Sun

    With the right modifiers and light source, you can mimic natural light with studio lighting. Learn how to create hard light to mimic the sun in the studio.

  15. Shoot: Change Background Color With Light

    Using the same white background, learn how to manipulate the color of the background with light. Remove the lights to create a gray background. Work with several different studio lighting set-ups to manipulate the background color.

  16. Shoot: Create Soft Light with Umbrella

    After working with hard light, work with soft light by using a black and white umbrella with a diffusion sock to light the subject. Set-up the side light to feather on the subject without falling onto the background.

  17. Shoot: Create Intentional Shadows

    Working with studio photography lighting is just as much about the shadows as it is the light. Learn how to create intentional shadows using studio equipment.

  18. Shoot: Action Shots In Studio

    Go behind-the-scenes for studio action shots. Watch as Dan works with a handheld light without a light stand to replicate the look of on-camera flash.

  19. Review Images in Capture One

    Review the images from the live studio shoots inside Capture One. Cull photos quickly with keyboard shortcuts and see the results from the live shoot.

  20. Raw Processing

    Move into post-processing by working with the RAW files. Pre-processing with tethering offers a jump start -- learn the process of fine-tuning RAWs and organizing files.

  21. File Handling

    Organizing files helps streamline the process and make invoicing easier. In this lesson, Dan shares his process for sharing and organizing digital images.

  22. Retouching & Color Overview

    Strategize for post-processing in this overview lesson. Learn Dan's process for editing, including finding your style, and working with color.

  23. Retouch Images in Capture One

    Work inside Capture One to perfect the RAW files from the live shoot. Find tricks and tips to working in Capture One, working with exposure, contrast, and basic color temperature.

  24. Retouch Images in Photoshop

    Moving into Adobe Photoshop, remove distracting elements like stray hairs and acne. Work with the patch tool and clone tool to clean up images in Photoshop.

  25. Retouch Images With Presets

    Work with cropping inside Adobe Photoshop. Then, move into Alien Skin to work with presets to work with different colors and dramatic effects. Work with film-inspired presets, then learn how to fine-tune the effect.

  26. Advertising Vs. Editorial

    Editorial work and advertising work have several distinct characteristics. Learn the difference between the two and how to please both types of clients.

  27. Indoor Location Shoot

    Move into the second shoot of the class with an indoor shoot on location. Gain an overview of the goals and process for the shoot.

  28. Indoor Location Shoot Process

    Prepare for the shoot with tips on the process of the environmental portraiture. Work with a checklist and a shot list, then jump into the first in a series of behind-the-scenes videos in an artist's studio.

  29. Get to Know Your Subject

    Understanding your subject helps create unique, authentic images. Learn how to collaborate with the subject. Find the essentials to quickly getting to know the subject.

  30. Test & Frame Your Shot

    With a shot list and understanding the subject, Dan then moves into analyzing the location and the natural light or ambient light that's already in the space. Work with testing the light and framing the composition.

  31. Create Natural Light

    Placing lights where they'd naturally be in the space helps create flattering, dramatic lighting that doesn't look terribly out of place. Work in the shooting space with initial lighting and start shooting.

  32. Natural Light & Alternate Light

    Every portrait doesn't need studio equipment lighting -- work with natural lighting and window light. Alternate lighting can build variety into your environmental portraits.

  33. How to Shoot Indoor Location Portrait

    Along with action-based environmental portraits, a more formal, looking-at-the-camera shot is often part of each shoot. Work with shooting portraits on location, from setting up the studio lighting to composing and getting the shot.

  34. Indoor Shoot Results

    Review the results from the indoor shoot in this lesson. Dan explains everything that went into the shot and why he made some of the decisions that he did.

  35. Outdoor Location Shoot Goals

    In the third shoot of the class, head out to a location with natural light inside a garage and outdoors. Learn how Dan prepared for the session and the goals for the shoot.

  36. Indoor/Outdoor Light Setup

    Work with outdoor and semi-outdoor locations by tackling the lighting. After scouting and settling on a narrative, work with studio lighting tools to create dramatic effects. Go behind-the-scenes for the three light set-up using artificial lighting.

  37. Studio Light On Location

    Mix the natural light with the ambient light in this shoot outside the garage, continuing the third project of the class. Learn why you might use artificial lighting outside and how to mix the sunlight and a studio light kit.

  38. Create Location Portrait

    Work with the location portrait from the third shoot of the class. Learn how to spot locations for the more formal portrait and work with graphic compositions and more dramatic light.

  39. Outdoor Shoot Results

    Take a look at the results from the final shoot. In this lesson, Dan shares his thought process behind creating each shot and why he made the lighting and composition decisions that he did.

  40. Post Processing Overview

    Make a plan to polish the images from the second and third shoots. In this lesson, get an overview of the editing process before jumping into the post-processing.

  41. Choose Selects & Sort Images From Indoor Shoot

    Cull the images from the artist's studio and the garage inside Capture One. Review the images and go through the process of choosing what photos to edit and deliver.

  42. Edit Raw Images from Indoor Shoot

    Learn how to polish those indoor shots inside Capture One. Work with exposure, contrast, and color with the shots from the artist's studio.

  43. Finish Images in Photoshop & Alien Skin

    Work inside Photoshop to remove scuffs and scrapes on the walls and other clean-up tasks. Then, work with files in Alein Skin to color using presets.

  44. Portfolio Management

    Moving into the portfolio and marketing segment, gain insight into building a strong portfolio. Dan shares tips on building a portfolio, from what order to use to choosing what images to include.

  45. Importance of Website

    Websites serve as a first impression of your work. In this lesson, learn the dos and don'ts to building a photography website, like focusing on images and simplifying navigation.

  46. Marketing 101

    Your portfolio doesn't do much good if no one is actually laying eyes on it. Develop strategies to get your work in front of potential clients for editorial and commercial work.

  47. What About Reps?

    Reps work with the numbers while you focus on the photography. Learn the basic pros and cons to working with representatives or agents.

  48. Bring it All Together

    Wrap up the course with a final chat on environmental portrait photography. Once you've built a successful business, remember to take the time to get back to your roots and shoot for yourself.


Julie V

I had the chance to sit in the audience for this class and absolutely loved it. Watching Dan create amazing images from start to finish in front of us was so inspiring. I've learned so much from this class. It actually gave me the confidence to start playing with lights in my studio. It was really useful to see how he sets his lights and how he can easily mix ambient light with artificial. I also love how he focuses on getting the image right in the camera to only do light edits after. I recommend this class to anyone wanting to learn more about lighting, shooting tethered and editing efficiently!

a Creativelive Student

I love this guy! I so appreciate his honesty while he is explaining his thought process, admitting that his “shoulda/coulda/woulda’s” - which I experience ALL the time. I am now going to dust off my light meter and start using it on location as I’m convinced that it works now that I’ve seen Dan’s class. I enjoyed the detailed way he sets up each light individually, checking to make sure it adds the amount and quality of light he wants. Definitely recommend this class - especially for those people who have experience using studio lights and want to see how they can be used to get specific results. Dan’s clear, simple explanations, his unabashed humility, and his sense of humor made this a truly enjoyable way to spend my time learning his methods.

a Creativelive Student

Dan is an excellent instructor! He's completely transparent with his thought processes, from technical to creative. He doesn't waste time horsing around or getting off topic, but is structured and sticks to his outline. Every minute watched is on topic, and is understandable. He's sincere and likable. The course is great for anyone interested in this genre!